Ask The Chief Examiner Response - June 2007 Options

[Clara Taylor]

Hello everyone.

I've read the debate over the last month or so with great interest and I'd like to take this opportunity to provide answers to some of the most popular and intriguing questions that have been posed to me.

1. Does the Board have any intention of introducing graded exams in composition?

Graded exams in composition will not be introduced in the near future but discussions are taking place - in the long term it is certainly a possibility!

2. Is there any chance of the scale list being reduced for piano exams? The list for Grade 5 and above is so unnecessarily long and some students are opting to do TG exams because they want to play pieces on the piano rather than endless lists of scales.

Yes - new technical requirements will be introduced in 2009 and the scale lists for piano will indeed be made more manageable in terms of volume, assisting both candidates and examiners. The standards of performance required will, however, remain the same!

3. The mark schemes for Grades 1 to 5 are the same. I understand that a Grade 5 piece is harder than a Grade 1 piece, but is that the only variation between the grades? Surely, for example, a Grade 5 pianist would be expected to have a better tone and dynamic control than a Grade 1 pianist to pass and similarly a Grade 5 violinist would be expected to have a better grasp of intonation?

You are perfectly correct - although the criteria are the same regardless of the grade the expectations of the examiner will be geared towards the particular level being examined and he or she will expect to see increasing development of musical polish and finesse. A Grade 5 violinist would indeed be expected to have a better grasp of intonation than one taking Grade 1.

4. What constitutes a 'musically shaped scale' - is a crescendo/diminuendo what is desired or is even tone more important? Does this differ from instrument to instrument?

Even tone is the most important consideration when forming a 'musically shaped' scale. The term 'musically shaped' incorporates such aspects as fluency, a sense of destination and a tempo appropriate to the grade being examined. Although the requirements do not differ from instrument to instrument the speed that scales are played at may vary! Full marks will be received for scales that are both blemish free and musically shaped.

5. What would the Associated Board's attitude be towards a candidate using a five string viola (strung C, G, D, A, E) in a viola exam or other unconventional instruments (e.g. electric bowed strings) in other instrumental exams?

It is perhaps not commonly known that unless the regulations specifically outlaw the use of a particular instrument or instrument variation the Associated Board deals with such situations on a case-by-case basis and assesses each one on its own merits. If individuals wish to use unconventional instruments they should make a request as early as possible before sitting a practical exam.

6. I would like to ask Clara if there is any chance that the Associated Board will be introducing examiners who specialise in the instrument being examined.

We believe that a generalist approach which examines the musical outcome and not the technical means by which it is achieved is most appropriate for the graded exams. Our diplomas are already examined by specialists in the particular instrument being assessed.

7. I have a controversial one: what does the Board think of the practice of entering the same exam twice in the same session to maximise the chances of passing?

Applicants and candidates are actually at liberty to enter as many times as they like. We do not believe that obstacles should be placed in the way of those who wish to enter an exam more than once in the same session as they will still need to reach the same standards in a single assessment as everyone else to pass. I should point out that this practice does not guarantee a better result unless a significant improvement has been made between exams!

8. Are all the parts of the aural test really that crucial to general musicianship?

Aural tests are not 'crucial' to general musicianship but they are desirable and beneficial - they are tests of general musical awareness appropriate to any musical subject.

9. Is there any way for teachers to offer feedback on syllabuses after they have been in use for a couple of terms?

Certainly! I can assure you that all comments are welcomed and will be forwarded to the relevant office. It is always extremely interesting for us to hear how our syllabuses are received. We can be contacted by post to 24 Portland Place, London, W1B 1LU or by email to abrsm@abrsm.ac.uk.

10. What is the most important thing to aim for in a practical exam when playing scales?

There are several extremely important considerations - it would be difficult to isolate a single one! I would attempt to keep six factors in mind in particular:

a) Immediate scale recall
b) Knowing each scale thoroughly
c) Avoiding restarts - aiming to play each requested item once only
d) Maintaining an even, firm tone
e) Good co-ordination
f) A realistic tempo in relation to the grade

11. I would like to ask about the performance assessment exam. 'These Music Exams' suggests that we should prepare 15 minutes of music, and that the examiner discusses with you what you want to get out of the assessment before you start, and how you did afterwards, then sends you away with a written assessment. How is this possible if the exam itself is only 15 minutes?

The 15 minutes provided includes the time needed for discussion - the music itself is likely to occupy approximately 12 minutes of that time. Repertoire that lasts less time is acceptable and those sitting the assessment are also permitted to play extracts from longer pieces if they wish.

I hope this has been useful and enlightening and I apologise for the fact that I cannot answer each and every question. I'm afraid that I won't be able to respond on the forums to individual queries that stem from this post but I very much look forward to reading next month's debate!

Clara

[skylark]

This is really helpful, particuarly in my case the guidance on scales. Thank you ever so much for taking the time to do this.


Do we use this thread for new questions now??? I'm assuming we do, so I have one:

I've really been struggling to try and understand what the pink "Guide" and the "First Steps" pocket book say about intervals for my G3 theory (tomorrow!), but if it hadn't been for advice from forum members, I never would have fathomed it. Next time the books are revised/republished, would it be possible to look again at how intervals are explained and try and make it a bit clearer (IMG:style_emoticons/default/wink.gif)

[Maizie]

5. What would the Associated Board's attitude be towards a candidate using a five string viola (strung C, G, D, A, E) in a viola exam or other unconventional instruments (e.g. electric bowed strings) in other instrumental exams?

It is perhaps not commonly known that unless the regulations specifically outlaw the use of a particular instrument or instrument variation the Associated Board deals with such situations on a case-by-case basis and assesses each one on its own merits. If individuals wish to use unconventional instruments they should make a request as early as possible before sitting a practical exam.

Woohoo!! This has absolutely made my day - knowing that if I ever did go back to my (electric) cello, at least I can ask to be examined.
Thank you for answering our (many and varied) questions (IMG:style_emoticons/default/biggrin.gif)

[elidatrading]

Clara said "Our diplomas are already examined by specialists in the particular instrument being assessed."

Is this correct? So if you do a recorder diploma you are examined by a recorder player, not a flautist or clarinettist?

Liz

[jacobvaneyck]

Clara said "Our diplomas are already examined by specialists in the particular instrument being assessed."

Is this correct? So if you do a recorder diploma you are examined by a recorder player, not a flautist or clarinettist?

Liz

That's an interesting point. Does 'specialist' mean your instrument or just the family. So a violinist would get a violinist on the panel, not a violaist, cellist etc. I'm not sure my specialist was a clarinettist or another woodwind player.

At diploma level you want to be taught by a specialist in your specific instrument, not even a remotely connected one, so maybe examiners could reflect that.

That aside, thanks very much Clara for your time. Your advice as always is helpful and much appreciated. (IMG:style_emoticons/default/smile.gif)

[maggiemay]

Thank you very much Clara - lots of food for thought!

[Robodoc]

Thanks for answering our queries!

8. Are all the parts of the aural test really that crucial to general musicianship?

Aural tests are not 'crucial' to general musicianship but they are desirable and beneficial - they are tests of general musical awareness appropriate to any musical subject.

Yes, aural tests have their place, but what is the relevance of a grade 7 pianist having to sing at sight? Being able to improvise or even transpose at sight would be a much more useful and relevant skill.

Much as I would love to be able to improvise, that is taken care of in the Jazz sylabus isn't it?

As for being able to transpose at sight - is there any exam anywhere that tests this skill? And why do you say it's useful and relevant? I've never been asked to do it on a piano: A bass guitar or a guitar, yes, but never a piano.

[carol*piano]

As for being able to transpose at sight - is there any exam anywhere that tests this skill? And why do you say it's useful and relevant? I've never been asked to do it on a piano: A bass guitar or a guitar, yes, but never a piano.

You've obviously never played for fussy singers then (IMG:style_emoticons/default/dry.gif)

[SarahSax1986]

Thanks for answering our queries!

8. Are all the parts of the aural test really that crucial to general musicianship?

Aural tests are not 'crucial' to general musicianship but they are desirable and beneficial - they are tests of general musical awareness appropriate to any musical subject.

Yes, aural tests have their place, but what is the relevance of a grade 7 pianist having to sing at sight? Being able to improvise or even transpose at sight would be a much more useful and relevant skill.

Much as I would love to be able to improvise, that is taken care of in the Jazz sylabus isn't it?

As for being able to transpose at sight - is there any exam anywhere that tests this skill? And why do you say it's useful and relevant? I've never been asked to do it on a piano: A bass guitar or a guitar, yes, but never a piano.

Plenty of times I have needed to transpose my piano score...although most of these times were when I was providing an accompaniment (IMG:style_emoticons/default/smile.gif)

[Aquarelle]

A Thank you to Clara Taylor for wading through all our questions and comments.

SCALES
Although I don’t know where on the web site to find them again I remember seeing the suggested new scale syllabus for the piano exams. Clara has suggested the topic “scales” but if the changes have already definitely been decided I don’t know if we can add anything very constructive to the discussion – at least for the piano. Actually I think comments were invited at the time but it was before I could post. Maybe other instruments have not yet had their scale requirements revised. Is this going to happen? If so, for which instruments? It would, however be interesting to see the new piano scales syllabus again. Does anyone know how to find the relevant pages?

[Alicia Ocean]

1. Does the Board have any intention of introducing graded exams in composition?

Graded exams in composition will not be introduced in the near future but discussions are taking place - in the long term it is certainly a possibility!

Trinity practical exams offer the chance to replace one piece with a candidate's own composition. Even at the lowest levels I believe this adds a real thrill to the exam and extends the whole learning process (which can often become a rush from exam to exam).

[sbhoa]

It would, however be interesting to see the new piano scales syllabus again. Does anyone know how to find the relevant pages?

I just tried to find it and failed.
From what I remember there was no significant reduction in the number of scales required for each grade, just a bit of shuffling around and I seem to remember the addition of the whole note scale at one of the later grades?

[sarah-flute]

One thing that I find odd in the practical musicianship exams at grades 7 and 8 the improvisation is a free improvisation on a poem or picture... that seems a very odd test to me, I wonder what they're trying to test. As surely whether an improv fits with a poem is at least partly very subjective. I thought the test, think it's G6, that asks for an improvisation using a musical motif or interval sounds like a good test of "using given material", but the poem one seems a bit odd... maybe it's just me (IMG:style_emoticons/default/unsure.gif)

[AnotherPianist]

To the person searching for the new technical requirements they are very well hidden but are here.

Thanks to Clara for the interesting responses (IMG:style_emoticons/default/smile.gif).

2. Is there any chance of the scale list being reduced for piano exams? The list for Grade 5 and above is so unnecessarily long and some students are opting to do TG exams because they want to play pieces on the piano rather than endless lists of scales.

Yes - new technical requirements will be introduced in 2009 and the scale lists for piano will indeed be made more manageable in terms of volume, assisting both candidates and examiners. The standards of performance required will, however, remain the same!

I notice the only change at grade 8 piano is to add another scale though! I think grade 7 also has an increase in the number of requirements.

3. The mark schemes for Grades 1 to 5 are the same. I understand that a Grade 5 piece is harder than a Grade 1 piece, but is that the only variation between the grades? Surely, for example, a Grade 5 pianist would be expected to have a better tone and dynamic control than a Grade 1 pianist to pass and similarly a Grade 5 violinist would be expected to have a better grasp of intonation?

You are perfectly correct - although the criteria are the same regardless of the grade the expectations of the examiner will be geared towards the particular level being examined and he or she will expect to see increasing development of musical polish and finesse. A Grade 5 violinist would indeed be expected to have a better grasp of intonation than one taking Grade 1.

Interesting, so why the offical change at grade 6 but not elsewhere?

6. I would like to ask Clara if there is any chance that the Associated Board will be introducing examiners who specialise in the instrument being examined.

We believe that a generalist approach which examines the musical outcome and not the technical means by which it is achieved is most appropriate for the graded exams. Our diplomas are already examined by specialists in the particular instrument being assessed.

I'm also interested in the point others have raised about what is a specialist? Is a flautist a specialist recorder examiner?

7. I have a controversial one: what does the Board think of the practice of entering the same exam twice in the same session to maximise the chances of passing?

Applicants and candidates are actually at liberty to enter as many times as they like. We do not believe that obstacles should be placed in the way of those who wish to enter an exam more than once in the same session as they will still need to reach the same standards in a single assessment as everyone else to pass. I should point out that this practice does not guarantee a better result unless a significant improvement has been made between exams!

Fair enough, although given the board doesn't guarantee specific times for the exams I'd love to see these attempts scheduled back to back, with the same examiner (IMG:style_emoticons/default/wink.gif). I just felt, given people expect different marks from two very close by exams, it's making somewhat of a statement about their confidence in the system.

Once again thanks for the resoponses, they have been very useful, just a few follow up queries, which I suppose are technically in the wrong place anyway (IMG:style_emoticons/default/wink.gif).

[dacapo]

As for being able to transpose at sight - is there any exam anywhere that tests this skill? And why do you say it's useful and relevant?

Others have answered the second bit. I'm not sure whether any of the current diploma exams test it, but at the time I did my accompanist's diploma exam (ARCM) I was tested on transposition at sight (up or down a tone or semitone), realising a figured bass and improvising an accompaniment to a fairly simple melody. I think it was a song, but it was rather a long time ago, anyway I definitely had a soloist to accompany in the exam who was different from the violinist for the sonata. The rest of the exam included performing the Brahms Violin Sonata in G and a Beethoven Piano Sonata (Op.31 No.1), plus a viva voce, and paperwork. There was also an optional harmony paper which I did, and which was shown separately on the certificate.